Firstly, I should explain that both La Job and Le Bureau are French language versions of popular BBC comedy show The Office (the BBC's most successful export ever), from Canada (Montreal) and France respectively.This feature has one objective: to recommend them.

La Job

As far as I know, this is the funniest thing to have ever come out of Canada,it's the third foreign language adaptation of The Office, and quite probably the greatest.Filmed as a documentary like The Office, La Job incorporates twelve episodes (although for some reason that I can't figure out, only two are widely available). Like Le Bureau, its French counterpart, the scripts have been adapted from the British scripts, with names and cultural references changed appropriately, rather than creating news ones à la the American Office.Wernham & Hogg becomes Les Papier Jennings, and regional manager David Brent becomes David Gervais (the surname being a little homage to Ricky Gervais and his French-Canadian roots).David Gervais is truly cringe-worthy, in a similar vein to the English version he fails to grasp the notion of political correctness, and often makes a fool out of himself in front of his employees and succeds in making viewing the programme an uncomfortable experience. I don't know if it's due to his constant and often incorrect anglicisms, or his look, or general aura (in comparison to David Brent he seems to have a far needier personality) but Antoine Vézina (a performer of the reputed Ligue nationale d'improvisation (LNI), a Quebec-born concept of improvisational theatre and international improv team competitions) nails his role and provides laughs galore, the two episodes are worth watching just to see him. And you can see him in action here, and judge for yourselves.Le Bureau

This French remake of The Office was commissioned after a dubbed version of the English series didn't do as well as expected in France.While remaingin pretty true to the majority of scenes in the original, Le Bureau has some noticeable French quirks. Smelly cheese replaces jelly, the cleaning lady comes from West Africa, and a Parisian banlieue replaces Slough, but like La Job the series' main comic delight is the David Brent character, Gilles Triquet. Who is played by the ever-watchable François Berléand (hailed by Le Figaro as a tour de force), and similarly to David Gervais conveys his awkward humour by inapposite anglicisms "zat's life" and casual political in-correctness. This "boss trop cool" is an older mutation of David Brent complete with novelty purple facial hair (a minute vertical strip from this mouth to his chin). Desperate to appear younger than his years, Gilles speaks in verlan, goes out to hip Parisian bars and attempts English slang e.g. "okey-dokey". The French press embraced Gilles Triquet as the embodiment of a stereotypical 'beauf', and decided that Le Bureau's portrayal of a man going through a midlife crisis, the depiction of the monotony of life in the Parisian suburbs and the preoccupation of workplace rights (a subject dear to most French hearts) was the perfect combination for laughs.

"Without doubt the funniest series of the year,"Le Journal du Dimanche

This film, based on the 1934 Prix Goncourt winning novel of the same name focuses on a group of French soldiers mobilized yet not allowed to fight (roving Bolsheviks) in Bucharest just after the armistice of the First World War.The first half of the film, devoted to the war vividly conveys what a brutal business it is, and what kind of man it takes to fight it successfully.Capitaine Conan, one of these men, unsuited to peacetime, is finding it hard to control his soldiers, especially after years of fighting they, hardened and ruthless must now not react to the attacks they are subjected to. Bored of guard duty and drills, it's not long before these pent up soldiers resort to committing a series of petty (and several serious) infractions.The French military begins to conduct courts-martial of some of its bravest soldiers for these most petty crimes. One of the few officers Conan actually respects, Lt. Norbert (Samuel Le Bihan), has been assigned to the tribunal to defend the accused soldiers. Their friendship becomes severely strained when two of Conan's men rob a nightclub, leaving two women dead.A war-film yes, but the main subject of this film is what happens to the warriors when there is no war.The Good:Superbly acted by a cast of relative unknowns, the film is also beautifully shot by cinematographer Alain Choquart, who blends oustanding landscape photography with some breathless handheld camera-work that fill Tavernier's battle scenes with a grueling immediacy.

The Bad:

A slow start, and a confusing scenario if you're not aware of the historical and military implications of the end of First World War.

The Downright Ugly:

Nothing to report.

Final Verdict:

As a period piece of exacting and precise detail and as a triumph of assured filmmaking in every aspect, "Capitaine Conan" is a challenging and enriching experience.

Set in a small Québec mining community around Christmas, this coming of age film examines life in the Maurice Duplessis-era of rural Québec, prior to the Asbestos Strike of the late 1940s.The plot of Mon oncle Antoine revolves around a family store owned by Antoine, who also runs the local undertaking business. The story is told from the point of view of a 15 year-old central character, Benoît, a young boy who lives with his uncle and aunt Cécile at the store and who observes the adults around him with an amused but critical eye.The Asbestos Strike is regarded by Québec historians as a seminal event that led to the Quiet Revolution. Jutra's film, thus, is viewed as an examination of the social conditions in Québec's old, agrarian, conservative and cleric dominated society that gave birth to the dramatic social and political changes that transformed the province a decade later.

The Good:

The film draws the spectator into Benoît's perspective on his community, and much of its appeal derives from its depiction of an apparently simpler past by the cinematic device of a child witness, we see the world through his eyes, looking at his corrupting community with fresh and innocent eyes. Mon oncle Antoine demonstrated the possibilities of Canadian cinema at a time when few Canadian feature films had achieved critical or commercial success. This film has twice been hailed as "the great Canadian movie," something it has remained ever since. In 1980 it was voted the best film ever made in Québec in a poll of critics conducted by Séquences magazine, and it was honoured as the best Canadian film in similar polls conducted by the Toronto Festival of Festivals (now the Toronto International Film Festival) in 1984 and 1993.

The Bad:

Some scenes drags on a little, viewers should be aware that this is an autobiographical, contemplative film which shows, in a very simple simple direct style, the bleak and stoic life of a small community, living next to giant slag heaps of asbestos.

The Downright Ugly:

Viewers who're looking for entertainment will be sorely disappointed.

Final Verdict:

The plot is a good one; it leaves you thinking, and it involves a boy's coming of age, sex, love and death, however Mon Oncle Antoine is about revolution, albeit a Quiet one. It manages to capture a time in Québec not often portrayed in cinema. Mon Oncle Antoine's strength lies in the depth of its characters and the richness of the settings. However, it will only appeal to a certain type of cinema goer.

During World War II, hundreds of French-speaking Cajun men from South Louisiana enlisted in the U.S. military. Their linguistic skills and French heritage had been denigrated for decades in South Louisiana and was ridiculed as well by American officers in the processing centers at Camp Shelby, Mississippi, and Fort Polk, Louisiana. Remarkably, these same men found that their ability to speak French became of vital importance to the American war effort in French North Africa and in France and Belgium. French-speaking Cajuns not only worked with the French resistance after D-Day, but they also provided the U.S. Army’s most effective means of communication with local authorities and the civilian population, which, in turn, provided critical support and intelligence to the American army. Indeed, Cajun translators were as important to the American war effort as the now much acclaimed Native American “Code Talkers,” yet, the Cajun translators’ contributions in this regard have been largely ignored until now.

This documentary film, through memoirs and interviews of French-speaking Cajuns who served in WWII either as members of the OSS or as citizen soldiers, tells the story of this important aspect of the American war effort in Europe. Additionally, cultural scholars provide insight into the stories of these veterans from both an historic and linguistic perspective. As a result, this documentary film allows the audience to take a new look at the American experience, from a South Louisiana perspective. The Cajun G.I.’s of World War II were American citizens, however, their cultural pedigree was tributary to something other than the typical American experience. The end result is a film that acknowledges the unique and important contributions of the French-speaking Cajun soldiers to the war effort and gives long overdue credit to them and their linguistic skills and French heritage.

The story is told through a combination of powerful archival WWII film footage, moving interviews in both English and French with Cajun veterans who served in the OSS or as citizen soldiers, an original soundtrack by Sam Broussard, and 35mm film footage of the Southwest Louisiana winter landscape that symbolizes the last act of these veterans’ lives when their stories can and shoud be told.

Melé is a bar singer, her husband Chaka is out of work and the couple is on the verge of breaking up...In the courtyard of the house they share with others families, a trial court has been set up. African civil society spokesmen have taken proceedings against the World Bank and the IMF whom they blame for Africa's woes...Amidst the pleas and the testimonies, life goes on in the courtyard.Chaka does not seem to be concerned by this new Africa's desire to fight for it's rights.../Melé est chanteuse dans un bar, son mari Chaka est sans travail, leur couple se déchire...Dans la cour de la maison qu'ils partagent avec d'autres familles, un tribunal a été installé. Des représentants de la société civile africaine ont engagé une procédure judiciaire contre la Banque Mondiale et le FMI qu'ils jugent responsables du drame qui secoue l'Afrique.Entre plaidoiries et témoignages,la vie continue dans la cour.Chaka semble indifférent à cette volonté inédite de l'Afrique de réclamer ses droits...

The Good / Le Bon:

Ce film mélange une partie de fiction scénarisée par Sissako et un procès improvisé par de vrais avocats, (dont les Français William Bourdon et Roland Rappaport), président du jury et témoins. Les divers "acteurs" du procès ont donc élaboré leurs propres arguments et plaidoiries, donnantune vision intéressante de la mondialisation et de ses conséquences en Afrique.Ainsi que cette vision des politiques mondiales, Aïssa Maïga, selon moi une des meilleures et une des actrices la plus belle de la France en ce moment, joue son rôle avec sensibilité et aplomb./This films manages to merge a fictional plot written by Sissako and an impromptu trial with real lawyers (among them William Bourdon and Roland Rappaport from France) who preside over the jury and witnesses. The various 'actors' in the trial have elaborated their own stories and pleas, and the whole film gives us an interesting vision of globalization and its consequences in Africa.As well as this vision of world policies, Aïssa Maïga, in my opinion one of the best and most beautiful French actresses around at the moment, interprets her role with sensitivity and aplomb.The Bad / La Brute:

For us in the West, this film presents us with some pretty uncomfortable home truths about globalization./Pour nous dans le monde occidentale, ce film nous présente quelques vérités assez penibles concernant la mondialisation.

For some the production quality and plot (perhaps lack of plot) might make this film hard to watch (but these people would do well to loosen up a bit)./Pour quelques gens la qualité de production et le scénario (ou peut être manque de scénario) pourrait le rendre difficile à regarder (mais ces gens-là profiteraient de se détendre un peu).

A French-Canadian sports bio-pic about the life and career of legendary (in Canada, especially in Quebec) ice hockey player Maurice 'The Rocket' Richard. This film spans from his early days as a teenage factory machinist in the 1930's playing hockey whenever he could, his subsequent rise to fame and struggles with injury as a key member of the Montreal Canadiens, and his triumphal final season in which he led Montreal to its fifth Stanley Cup Championship trophy in a row. The film also deals with the discrimination faced by French speaking hockey players in the anglophone NHL, and also portrays Richard's suspension after retaliating against a linesman who was physically restraining him, which in turn believe it or not sparked the Richard Riot.The ensuing riot in which 41 people were arrested, and 12 policeman and 25 civilians injured, caused an estimated $100,000 in damages and is seen by some to represent the beginning of the La Révolution tranquille, and marked a significant shift in Quebec Nationalism.

The Good:

This film pretty much swept the Genies (Canada's version of the Oscars) and won 9 awards out of 13 categories. However, of note is Roy Dupuis' performance as Richard, which deservedly wonBest Performance by an Actor in a Leading Role. Dupuis, who you may have seen in the recent Mesrine: L'instinct de Mort, thrives as the quiet, yet strong willed hockey player whose articles against the discrimination directed at the French speaking canadians often got him into trouble.Excellently written by Ken Scott and well directed by Charles Binamé, the film also had a tremendous budget of $8,000,000 Canadian dollars, and it shows, all scenes were produced to be as true to reality as possible; and the production design, costumes, sound, and editing all accordingly won awards.I should also add that the scene where Maurice Richard absolutely owns Sean Avery by knocking hilm down twice after being told to run away is a joy to watch.

The Bad:

Apart from having to concentrate to grasp the meaning of several québécois phrases, it would be fair enough to say that although not a 'bad' aspect, the film definitely has an esoteric appeal, and anyone who has little to no interest in hockey would do well to give this film a swerve. Having said that, the story of one individual struggling through life and sport to acheive respect and recognition is universal, e.g. Cinderella Man, Million Dollar Baby etc and if that's not your cup of tea, the secondary themes of a softspoken family man becoming a symbol for his people and overcoming bias on the way should be.The Downright Ugly:

Nothing to report: a good old wholesome sports film.

Final Verdict:

A highly enjoyable film about one man overcoming adversity without seeming too hackneyed and clichéd, worth a watch for anyone who is interested in modern Canadian history, the importance of the French language, ethnic and cultural troubles or if you just plain enjoy 'boy done good' sports films.

Sunday, 4 April 2010

A hilariously satirical mockumentary that revolves around a student film crew as they follow a serial killer. As the crew document and observe his crimes, he reveals to the camera his insights on life, love, art, nature, music and society. The crew, who at first are dispassionate observers gradually begin to get caught up in the chaotic violence that surrounds the focus of their documentary: Ben.

The Good:

Where to start? Although the mix of shocking violence and black comedy may come as a bit of surprise to some viewers, this film truly is exceptional. Shot on the lowest of low budgets by four Belgian students, C'est arrivé près de chez vous (It happened near you) is both a commentary on human being's fascination with the macabre and the media's obsession with violence, but don't let that put you off.Benoît Poelvoorde absolutely shines as the charismatic and pretentious murdering psychopath, his quick humour, awful poetry recitals and general joie de vivre endear him to the viewer, regardless of the atrocities he commits (e.g. screaming at an old lady with a heart condition in order to save a bullet). However, the mastery and strength of this film lies in its tongue in cheek ability to make the audience ask itself questions regarding complacency to violence.

the film has some genuinely disturbing moments, and is not for the faint of heart.The Downright Ugly:

Aside from the aforementioned in-your-face violence, for anyone familiar with the l'affaire Grégory, the whole 'petit Grégory' cocktail scene is pretty bad taste, in a film that in general is very distasteful.

Final Verdict:

One of the best things to have ever come out of Belgium, go and watch this film, unless you're an easily offended or shocked OAP / postman.

Four prisoners occupying the same cell stumble upon a spell book that seems to be the answer to escape.

Four prisoners in a cell, the new boy Carrère, imprisoned for committing a company fraud; Marcus, an aspiring transsexual and his dependent, Pâquerette the compulsive eater; and Lassale, a cravat-wearing former librarian and philosopher.One evening, Carrère and Marcus discover a journal hidden in the wall of the cell. This journal written by a former inmate in the 1920's, the youth obsessed serial killer Danvers; seems to reveal the secret to escaping their prison. But something sinister lies within its pages......

The Good:

The fact that the majority of the film takes place in a single cell and that the first half, which is steeped in interesting character development and black humour and driven by dialogue gives Maléfique the feeling of a stage play, something made possible by the sterling effort of the cast whose interpretations of these intriguing characters help to maintain the audience's attention. In particular the ever-watchable Clovis Cornillac in his role as the butch-bitch Marcus, and Dimitri Rataud's 'more excitable than an andrex puppy' character, Pâquerette.The Bad:

It has to be said that the main concept of the plot is a fairly familiar formula: the discovery of a strange mystical object, the characters then use said object, and subsequently discover that it's not all it was cracked up to be is something many viewers will already be accustomed to in this genre of film.The Downright Ugly:

A vagina collage, Clovis breastfeeding his cellmate, and existential sodomy; google any of that if you dare.

Final Verdict:

A well directed horror film, with a couple of stand out moments and misfit characters that is well worth a watch, if you've got nothing better to do that is.